Review by Markus Hamence – Performance date: Friday 23 May 2025, Arts Theatre, SA
The Gilbert & Sullivan Society of South Australia has taken on Stephen Sondheim’s Merrily We Roll Along, delivering a production that’s both ambitious and emotionally resonant.
G&S Society never disappoint with their productions, always delivering a high standard that ensures us punters leave with an appreciative grin and happy, joyful heart. This one continues on with the reputation. Read on my theatre rockstars…
A Night of Bittersweet Brilliance: Merrily We Roll Along in Adelaide
So, last night, I found myself swept up in a theatrical time machine – but not the clunky, sci-fi sort. This one sang, danced, and tugged at my heartstrings. The Gilbert & Sullivan Society of South Australia’s production of Merrily We Roll Along isn’t just a ‘roll’ed out musical; it is a poetic reversal of dreams and detours, all served with a side of Sondheim brilliance.
A Reverse Tale Told Right
If you’re unfamiliar with Merrily We Roll Along, let me give you the quick lowdown my friends: it’s a musical that starts at the end and ends at the beginning. Holy moly, yup, you read that right. We begin with Franklin Shepard as a jaded and wildly successful composer-turned-producer, and journey backwards to when he was a bright-eyed idealist with dreams, not deals, on his mind.
Now, this is no easy feat for any theatre company – chronologically reversed storytelling requires razor-sharp direction and emotional clarity. Thankfully, the G&S Society, under the thoughtful and more than apt direction of Matt Smith, hits all the right notes. The narrative remains clear, even as the years roll backwards, and by the end (which is actually the beginning), you’re left breathless with what could have been.
Stars That Shine in Reverse
Nicholas Munday as Franklin Shepard is a marvel. He anchors the show with a performance that captures both the charisma of a young dreamer and the cold sheen of success. His transformation – or rather, un-transformation – feels painfully real.
Deon Martino-Williams brings a zesty blend of idealism and exasperation to Charley Kringas, his ‘Franklin Shepard, Inc.’ number earning mid-show applause and more than a few knowing nods from creatives in the crowd. And Serena Cann’s Mary Flynn? Oh, she’s the soul of the piece. With a whiskey-soaked voice and eyes that say everything, she broke hearts and mended them all in a single scene.
The delightfully appealing Bec Pynor, with her engaging vocals, shines beautifully as Gussie, as does the versatile and well-awarded Danielle Greaves as Elizabeth. In fact, the entire supportive performers are well cast. Special nod to youth actor Joshua Mason in the role of Frank Jr, a very well handled emotive character. But, really, I could bang on about all of them to be honest… Ryan Ricci, Jason Clarke, Kiera Barge, Bethany Eloise, Will Fauds, Jarrod Matulick, Eloise Morriss, Grace Sexton, Meg Smith, Michelle Tan, Tal Wilhem, Catherine Breugelmans, Matthew Barnett, Nathaniel Mason & Clare Willems – A fabulous troupe of very fine and professional actors destined for further work in the industry.
It is obvious this show has been directed AND rehearsed with brilliant attention to detail. Bravo to all.
Music That Moves Through Time
Musical director Matthew Rumley deserves a standing ovation of his own. Sondheim’s score is notoriously complex – syncopated rhythms, biting lyrics, emotional crescendos, and reprises that morph with each time jump. Yet Rumley’s ensemble made it all sound effortless. From the sarcastic sparkle of ‘Opening Doors’ to the haunting simplicity of ‘Our Time’, the music stitched the years together like a nostalgic mixtape.
Choreography by Lucy Newman was minimal but meaningful – each movement serving the story without distracting from it. The cast moved like memories: fluid, sometimes jagged, always evocative.
Set, Style, and Sondheim
The set design embraced a minimalist flair – clean lines, modular pieces, and a clever use of lighting to denote the passage (or rewind) of time. Costumes followed suit, shifting subtly as decades peeled away. It was a stylish nod to eras gone by without ever becoming a costume drama.
And yes, the Sondheim wit is as sharp as ever. Lines land like well-timed jabs, and the audience chuckled, gasped, and sighed on cue. The writing reminds us that growing up is often just a long, slow process of learning how to compromise – and how to forgive ourselves for doing so.
Why This Merrily Deserves the Applause
The G&S Society’s Merrily We Roll Along as mentioned in the beginning is much more than just a local theatre triumph – it’s a love letter to ambition, friendship, and the messy, beautiful tragedy of growing older. In a world obsessed with what’s next, it’s refreshing (and a bit heartbreaking) to rewind and wonder, ‘What if?’
If you’re in Adelaide and you haven’t caught this gem, don’t wait. It’s playing at The Arts Theatre until 31 May 2025. And trust me, you’ll want to roll along with this one.
I interview the Musical Director, Matthew Rumley:
